Sentence examples for labeling performance from inspiring English sources

Furthermore, outliers in Eq. (1) should not have a huge effect on the labeling performance.

Overall yields, including elution yield and synthesis yield, were calculated corrected for decay in order to compare the labeling performance.

It addresses all aspects of implementing environmental management systems, including auditing, labeling, performance evaluation and lifecycle assessment.

The production's split schedule, labeling performances for youngsters in contrast to the so-called adult shows, may account for its decidedly split personality.

Jack White established his Third Man Records  - a combination of record label, performance venue and record store - in the city in 2009.

Happenings as a descriptive term lost currency in the late 1960s, giving way to specific categories, such as body art, and by the early 1970s to the general label performance art.

Mr. Zorn's importance to this new downtown is not his music so much as what he represents, like having your own label, performance spaces and tight-knit pack of frequent collaborators.

He characterized his installations (he resisted the label performance artist) as "constructed situations," a term inspired by French Marxist theorist Guy Debord's treatise about the "construction of situations" (1957).

The second was to an experimental piece of gay theatre – a monologue by a little-known actress named Kres Mersky that nowadays would be labelled performance art, and queer performance art at that – which he included in his primetime TV show in total defiance of NBC.

Sehgal works entirely in such encounters, for which he refuses the label "performance art", since the "interpreters", as he calls his team of locally recruited interlocutors, are not performers; rather, they are people with a genuine expertise or interest in the market economy.

The Town Hall tapes are just one of scores of audio archives around the country rotting in warehouses or in danger of being tossed out by record labels, performance spaces, radio stations and media companies who are either unaware of their cultural value or unable to pay for their upkeep, said Gerald Seligman, the executive director of the National Recording Preservation Foundation.